Presonid Posted April 20, 2017 Author Share Posted April 20, 2017 Helix's Guitar Input has a digitally-controlled analog pad before A/D conversion. FWIW, the impedance circuit is the same. Edit November 2017: 2.30 firmware: New Amps (7) -Voltage Queen, based on* the Victoria Electro King Real: No Master, Volumen Normal, Volumen Tremolo, Depth, Voicing (Bass Treble), Frequency Helix:: Drive1; Drive 2; Tone =Voicing Bass and Treble; No Mids Drive 1 is the Volume Normal and Drive 2 is Volume Tremolo, the amp modeled has jumped Normal and Tremolo Channel. The Electro King is an idealized recreation of the classic McCarty era(late 50's Gibson) GA-40. Its circa 1957 circuit features two cathode biased 6V6s for 15watts of recording and small club power. The heart and soul of the Electro King is its 5879 preamp circuit; a single NOS 5879 input pentode for each of the normal and tremolo channels provides rich distortion and natural tube compression at any volume setting. Notes seem to be ˜blown out of the amp with overdriven tones that are saturated, dynamic and musical. Jeff Tweedy has his hands on one, do you? 15 watts of power 1957 GA-40 Type Circuit Cathode Bias Class A Push/Pull Output Standard Speaker; American Made 12 Eminence, Jensen Alinco Tubes: 1-5Y3, 2-6V6, 2-12AX7,1-6SQ7, 2-5879 Breaks up almost immediately, especially with humbuckers. Zero headroom for cleans out of this thing. It's clean to about 2.5. At 3 it starts to break up and by 3.5 it's completely overdriven. The overdrive is real dirty in general and after about 6 on the dial it starts to introduce a bit of a high end treble buzz that sounds pretty cool when playing leads. You can tone this back but turning the voicing dial more toward the bass side instead of treble. Find the sweetest tone for rythym to be right around 5. Keep the dial at around 3 and play lightly on the strings it gives some nice cleans but when you really dig into the strings and you get the breakup. The Trem is pretty over the top. If you crank it all the way up it almost sounds as if the amp is turning itself on and off. At lower more useable settings it seems to be very organic, like your riding a wave of sound. ---------------------------------------------------------------------------------------------------------------------------------------------------- - Derailed Ingrid, based on* the Trainwreck Circuits Express Real: Volumen; Treble; Mids; Bass; Presence; Bright Switch; No Masster Helix Controls: Drive=Volumen; Treble; Mids; Bass; Presence; Bright (1, 2, 3); No Master -->10 Preamp tubes: three ECC83 Output tubes: two EL34, fixed bias Rectifier: solid state Output: 50 watts RMS +/- The Express is Fischer™s rendition of a Marshall-style amplifier, but only in the broadest sense, given the tremendous amount of originality in his circuits. It carries two EL34s in fixed-bias Class AB, with three ECC83s in the preamp, along with controls for Volume, Treble, Middle, Bass and Presence on the front panel all looking very plexi-like. But, very little of what goes on inside is done quite like Marshall; rather than the archetypal cathode-follower T-M-B tone stack of the Marshalls (and Fenders 5F6-A tweed Bassman), Fischers EQ stage follows the first preamp stage, with the Volume control placed after. Two further ECC83 gain stages, along with some interesting tweaks in each, ramp it up before it hits a long-tailed-pair phase inverter and what is a fairly conventional output stage. There are plenty of tricks throughout the rest of the amp, too, including a very robust six-diode bridge rectifier and heavy power filtering. Component selection, transformer design and production, layout and wire runs, solder type and technique, and tube selection were all considered integral to the function of these amps, which were far from cookie-cutter designs. In this way, no two Express amps were built precisely the same, and every one was very precisely tuned with consideration of the whole. [Trainwrecks] are the most touch-sensitive amps you ll ever play, by far. If you have a bad right hand, you do not want to play a Trainwreck! The sound's so immediate from the pick to coming out of the amp, [which] opens a whole new kind of playing. You've got to get used to it, I suppose. The best thing, in my opinion, about Trainwrecks, is the harmonics. With a fair amount of gain on them, you can hit a chord and literally hear every string and the harmonics developing off of the chord as you get further and further from [the attack]. Fischer himself always considered his creations more instruments than mere amplifiers, and built them very much with the realization some guitarists just might not control them very well. When you start getting complex harmonics, that's what you need to make an amp sound complex. The more stable an amp becomes, the less complex it is. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------- Brit Trem Nrm, based on* the normal channel of the Marshall Plexi Tremolo 50 Brit Trem Brt, based on* the bright channel of the Marshall Plexi Tremolo 50 Brit Trem Jump, based on* the normal and bright channel (jumped) of the Marshall Plexi Tremolo 50 JMP 50 with a pair of EL34 output tubes and with a solid state rectifier.; Real: Presence; Bass; Mid; Treble; Volumen Normal Channel; Volumen Bright Channel; No Master Helix Control: Presence; Bass; Mid; Treble; Volumen Normal Channel; Volumen Bright Channel; Master = 10 -->No Master The iconic JTM45 which got its initials from Marshall's son Jim Terry Marshall. A few years later, Marshall switched to KT66 tubes to create the even louder 100-watt Super Lead 1959. In 1968, the company dialed back the decibels with the unveiling of a 50-watt, small-box head that would be called the JMP an acronym for Jim Marshall Products. What really makes this 68 JMP unique among its brethren is that it was built in early 1968 making the amp more efficient to build and still keeping it handwired, The use of EL34 power tubes, a solid-state rectifier tube for more gain, and two separate channels” bright and normal. Guitarists such as Jimmy Page, Jimi Hendrix, and countless others would eventually blend the two channels to get some of the most iconic guitar tones of all time. The 1968 straight-front 4x12 has Celestion pre-Rola G12-30 speakers with 041 cones, as well as its original basket-weave grille. Aesthetically, 1968 marked the first year Marshall switched to using white-script logos instead of gold lettering. That year also marked the first time front panels bore the JMP (rather than JTM) designation. Further, 68 saw one more Marshall evolution” the complete switchover from fret cloth to the basket-weave cab covering that had been partially instituted in late 1967. In general, the Marshall amplifiers became "brighter" sounding through the years. While the JMP 50 watt electronic circuitry was similar to the JTM 45, the tone was quite different due; to the tuning of the circuit "brightness", the use of EL34 power amplifier tubes, solid state rectifier instead of a tube rectifier, and different electrical specifications for the both power and output transformers. Another key difference was the JMP 50 and JMP 100 amplifiers had a split biased preamp section for each channel, whereas the JTM 45 had a common biased preamp section.This resulted in the JMP amplifiers having slightly different gain in the first preamp stage for each channel, whereas the JTM amplifiers had the same gain in the first preamp stage for each channel. Both the JTM and JMP amplifiers had one bright and one dark channel for added bass response. The metal paneled JMP amplifiers were equipped with EL34 power tubes that provided the famous cranked up "Marshall Crunch". EL34 tubes are known for their compressed, tight, and mid-focused distortion, in comparison to the JTM amplifiers that were equipped with 6L6 (5881/KT66) tubes that provided a more open and less heavy distortion. The JMP set the standards for hard rock tone. ---------------------------------------------------------------------------------------------------------------------------------------------------- -Cartographer, based on* the Ben Adrian Cartographer Helix Controls: Drive; Drive2; Bass; Mid; Treble; Master; Presence; Depth; Bright 1 On/Off; Bright 2 On/Off it WELL out of Traynor land. It's mostly a modded 2204 Marshall, but with a pinch of Soldano, a pinch of Bogner, a pinch of Fryette*, and a scoop of Ben Adrian experiments. The Cartographer amp in Helix is a model of an amp built for Ben Adrian, use in his band "Cartographer." The amp started its life as a 1977 Traynor YBA-1. When it came into his possession, it had been poorly modded as was not working very well. He decided to take the amp and mod it himself into the amp that would work best for the band's sound. He cascaded the bright and normal channels, making it a single channel amp, with a circuit very close to the JMP MkII amp. This included adding a master volume. The output transformer (OT) was not performing well, and was on the small side for a 50 watt amp. He replaced it with a larger OT. The amp was a bit bright, so he nudged the tone stack component values a bit, and he removed the two high-shelf circuits in the preamp. He changed some resistor values to add more gain, adding the second gain knob, which adjusts the volume between the second and the third gain stages. This allows the preamp's distortion voicing to be varied by adjusting where the most distortion is being generated in the preamp. Any time he discovered a clever or particularly good sounding bit of circuit, Ben would try it out in his personal amp to see if it pushed it into a more pleasing direction.B Adrian realized that he needed those high shelf circuits for darker pickups. He added presence and depth controls. Since the amp model is unique and slightly complicated, give a rundown of the amp parameters. Drive 1, Drive 2 Drive 1 is the traditional gain knob in a high gain, master volume amp. This is located between the first tube gain stage and the second tube gain stage. Drive 2 controls the amount of gain between the second tube gain stage and the third tube gain stage. The character of the amp can change drastically based on where these knobs are in relation to one another. Drive 2 at max is the default position for high gain tones. then Drive 1 is the traditional gain knob. Of course, watch out for the Master knob being too high or things can get mushy. If Drive 1 is set low (say about 3) and the Master is set high, then the amp will get a plexi normal channel vibe with Drive 2 acting as the gain knob. With Drive 2 set low (2-3), and the Master volume at full, the amp can get big and clean, with Drive 1 bringing in just a bit of grit as it is turned up. There are lots of textures available. Please experiment with the interactivity between Drive 1, Drive 2, and the Master volume. Bass, Middle, Treble These behave line a regular amp tone stack; located between the preamp and the power amp. Of course the values are slightly different than the big name amps. Use your ears and turn until it sounds good. Channel Volume Like on every other amp in Helix, this is a volume control at the end of the model used to adjust the overall level of the preset without changing the tone or distortion amount. Master This knob behaves like the Master Volume on the actual amp. It's located after the preamp, but before the power amp. When it's turned up high it will cause power amp distortion and saturation. At lower levels it will add less of its non-linearity and the tone and distortion of the preamp will come through more clearly. Presence, Depth These are similar to other amp models that have these controls. Presence and Depth are treble and bass boosts respectively. They occur after the preamp but before the power amp. They can affect overall tone of the amp model, or help define the character of the power amp clipping. They can also be said to affect the damping in the power amp. Bright 1, Bright 2 The Cartographer amp has two bright switches. Both of these switches are high shelf boosts. Bright 1 adds a high boost after the first tube preamp stage. Bright 2 adds a high boost after the second tube preamp stage. They can be subtle, especially at higher gain setting. The usually affect the character and the harmonics of the preamp gain rather than provide a distinctive level boost in the high frequencies. Try turning them on for darker guitars. try experimenting by turning on each one individually and then both at the same time to discover how each one modifies the sound. Sag, Hum, Ripple, Bias, Bias eXcursion These behave the same as on other amp models. ------------------------------------------------------------------------------------------------------ -Agua 51, based on* the Aguilar DB751 bass amp Real: Gain; Treble; Mid; Bass; Master The DB 751 features an improved preamp that combines the legendary tube driven tone of the DB 750 with greater EQ control. A perfect combination of raw power and excellent tone, the DB 751 continues the legacy set by the world famous DB 750. Delivering 975 Watts at 2 ohms and 750 Watts at 4 ohms this amp has the headroom you need to play any size venue. Self-Diagnostic Protection Circuit and Thermal Overload Protection Circuit (both with LED indicators) Power Output: 975 watts @ 2 ohms, 750 watts @ 4 ohms, 400 watts @ 8 ohms Preamp Section: Three 12AX7s Power Section: 12 complimentary lateral MOSFETs Transformer: Custom Aguilar toroidal power transformer EQ Section: passive tone stack with active midrange element, bass: +12 / -12 @ 40Hz; midrange: +12 / -12 @ 750Hz; treb: +12 / -7 @ 4kHz Deep Switch: Adds 5 dB of broadband boost at 30 Hz Bright Switch: Adds 5 dB of broadband boost at 5-7 kHz Inputs: One 1/4" input jack with an active/passive switch Made in NYC with some of the best components you can possibly put into an amp. They are super solid and can take being moved around and bumped they are made for gigging. They have massive headroom and sound somewhere in between a tube and solid state head. They sound great with different basses different cabs they are versatile. New Effects (7) Distortion Kinky Boost(Mono, Stereo), based on* theXotic EP Booster Distortion Thrifter Fuzz (Mono, Stereo), Line 6 Original Info from Sam: The Thrifter Fuzz came from my love of the fuzz circuit inside the Acoustic 360 preamp. It has a similar topology to a fuzzrite, with a different voicing for bass. The gating effect of the fuzz and character was fun, but it was a really hard fuzz to get more than just a few good sounds from. I took the things I liked about the circuit and tweaked it until I was happy with it. This... took a while since it was such a simple but interactive circuit to match for the behaviors I liked. Then I dialed and voiced such that it would work well for both guitar and bass tones, and a bit easier to work with. We added a psuedo-active notch filter to give more control to the voicing of the distortion characteristics, a Drive knob before the first distortion section, and a Thick switch to bring back some of the lows which were filtered out in the original circuit. The Attack knob is a balance between the first distortion stage and the second fixed gain stage, and is very interactive with the Drive knob. Dynamics Kinky Comp (Mono, Stereo), based on* theXotic SP Compressor Modulation Bleat Chop Trem(Mono, Stereo), based on* the Lightfoot LabsÂ© Goatkeeper Modulation Double Take (Mono, Stereo), Line 6 Original double Info from Sam (SHwang_Guitars): I wanted to give a bit of an in-depth rundown specifically for the Double Take double tracker. The Double Take is a new double tracking effect made specifically for the Helix. Having spent a lot of time listening to a plethora of double tracked instruments, we found that the way a part is performed has a huge effect on how the layered tracks would feel. With this in mind, we wanted to make a new double track effect that responds dynamically with the way the player performs, adding the real-world dimension and depth you would get from having multiple recordings of a single part. This led to a whole new design from the ground up, with a lot of tuning available for the amount and types of variation between the doubled voices. This makes for the ability to have an incredibly realistic sounding and feeling double tracker with the ability to shape the feel at your finger(and foot-)tips. Doubles The main "Doubles" knob controls the number of double tracks into the mix from one to four generated voices, and in the stereo versions, the dry signal is assigned to a specified pan location. (Dry signal is underlined) 1 = Left and Right 2 = Left, Center, Right 3 = Left, Left, Right, Right 4 = Left, Left, Center, Right, Right Note: as each extra voice is added, there is a post-effect level compensation such that the overall dB of the remains about uniform. You can make up this change with the two output knobs if you want the same level hitting whatever you send the doubled tracks in to. Also since these are hard pans, you an also use the "stereo width" block to control how wide this effect is in the stereo field. Slop The Slop knob controls the amount of the slight variations in timing and pitch you would hear from each of the doubled voices. The variations are what we like to call "Defined Randomness" as this amount and timing is directly coupled with the dynamics of the original part. This knob controls the heart of this effect, as it will define the voices from tight and refined at low settings and all the way to(too?) wild and dynamic at max. With this knob you can set such that a softer touch there isn't much change to the original performance, but the harder you dig in, the more the doubled voices' strings stretch, slap around, and become widely de-correlated. Sensitivity This knob controls the sensitivity of the slop feature. The lower this parameter is set there will be less dynamic behavior from the voices. This can be viewed more or less like a threshold or input gain of a compressor, but specifically for the slop's detection algorithm. Source (Stereo only) The Double take can have a true stereo path. This parameter determines how the input signal is processed by the effect. Mono: Input will be summed to mono then processed by the Double Take True Stereo: Each side will be sent as a true stereo path, and each extra voice will be sent to the side of the source pan. Left Only: Only the left input will be sent into the Double Take Right Only: Only the right input will be sent into the Double Take Dry and Wet Levels Instead of a This controls the level of the original dry signal as it passes through the effect. Note the Dry Level Location above. Note: In "True Stereo" mode, the dry signal for the right will only be used for the doubles and will not pass through the effect. In "Right Only" mode, the Right channel will be sent to the left or center according to the Doubles parameter. Personally, I like to put it either after my amp and cab if I'm using the stereo version, or in mono right in front of the rig just after my guitar... Delay Cosmos Echo(Mono, Stereo), based on* the Roland RE-201 Space Echo Real: Repeat Rate; Intensity; Echo Volume; Mode Selector; Bass; Treble; Reerb Volume Helix Controls: Time; Ramp; Feedback; Wow Flutr; Mix; Mode (Head 1, 2, 3, 1 3, 2 3, 1 2 3); Bass; Treble; FB Tone; Splice; Dry Thru; Spread La máquina de la que hablamos es uno de los productos más queridos de Roland: Space Echo (en concreto el modelo RE-201). Space Echo se ve por todas partes, pero su sonido es aún más icónico que su diseño. Estos dos efectos básicos (echo y reverb) ofrecen a músicos y productores herramientas valiosas para crear ritmos, patrones, profundidad espacial, y efectos especiales. Desde su salida a principios de los 70, RE-201 unido a echo de cinta y reverb a muelles fue el producto favorito de músicos vanguardistas como Pink Floyd, Brian Eno, y Kraftwerk. Volume/Pan Stereo Width (Stereo), Line 6 Original utility to collapse stereo paths Quote Link to comment Share on other sites More sharing options...
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.